Chapter Literature Review 1 History of translation of Hemingway’s works into Uzbek and Hemingway’s style

Chapter 2. Literature Review
2.1 History of translation of Hemingway’s works into Uzbek and Hemingway’s style
This work provides a brief biography of a notable author, as well as his legacy and impact on world literature. The history of the translation of "Farewell to Arms" in the Soviet Union is then discussed, and also the development of the Uzbek school of literature. The history of the first Uzbek translation of Hemingway's writings is then detailed, followed by a short description of the leading Uzbek translator who translated the book into the Uzbek language.
Ernest Hemingway was born in a native of Oak Park, Illinois, in 1899. He started his writing career when he was 17 in a Kansas City newspaper office. Hemingway became a member of a group of expatriate Americans in Paris during the 1920s, which he depicted in his first major book, The Sun Also Rises (1926). A Farewell to Arms (1929), a study of an American ambulance officer's disgust with the war and his role as a deserter, was also a triumph. For Whom the Bell Tolls, Hemingway used his experiences as a reporter during Spain's civil war as the backdrop for his most ambitious work (1940). The Old Man and the Sea which was written in 1952 is a short novel about an old fisherman's journey. It is “The Old Man and Sea” which is his most notable later work. Hemingway, a great sportsman himself, tended to portray soldiers, hunters, and bullfighters as rugged, at times savage people whose courage and honesty are pitted against modern society's ruthless ways, and who lose hope and faith in the process. His short stories, which are collected in Men Without Women (1927) and The Fifth Column and the First Forty-Nine Stories, are particularly successful because of his clear style, sparse dialogue, and preference for understatement (1938). In 1961, Hemingway died in Idaho.
Hemingway is without a doubt one of the most well-known foreign authors in the Soviet Union. Over 5 million copies of Hemingway's works have been published in the country by more than 90 different editors in 20 different Soviet languages. This is in addition to the numerous individual work publishing in the monthly press. In 1934, the Soviet Union published the first translation of Ernest Hemingway's prose into Russian. Hemingway's works had hitherto been unknown to the Soviet readership. In the absence of translations, only a few experts were aware of his growing international renown, and only a few had read his English-language works. As a result, Hemingway's general image was hazy, and he was frequently identified with the sign of 'decadence.' In 1934, his fortunes altered dramatically when his pieces were published in an anthology of American short stories and thereafter in numerous periodicals. Finally, under the title "Death in the Afternoon," a collection of excerpts from four of his books was released. In 1935, his novel "The Sun Also Rises" was released in the Soviet Union, followed by "A Farewell to Arms" in 1936, a translation of "To Have and Have Not" in 1938, and "The Fifth Column" and "The First Thirty-Eight Stories" in 1939. Beginning with these releases, translated stories and novels in all of the Soviet Union's languages were published on a regular basis. Due to the skillful translation of such accomplished translators into Russian as V. Toper, E. Kalashnikova, H. Volzhina, O. Kholmskaya, N. Daruzes, and E. Romanova, Soviet readers found the craft of Ernest Hemingway's literary work. Readers in Azerbaijan can read Hemingway's stories and novels, which have been translated into Azerbaijani by R. Gurbanov, I. Shukurov, H. Hajiyev, J. Mamedgulizadeh, and M. Suleymanov, while bookworms in Uzbekistan can read Ibrahim Gafurov's translations. The majority of them were members of Ivan Kashkeen's translation school, which created scientifically, based criteria for fiction translation and was one of the earliest Soviet critics of Ernest Hemingway. The aesthetics of Hemingway's writing was one of his critics' key concerns in the Soviet Union, "as opposed to the late-fifties political considerations". In the Soviet countries, Hemingway's adoration peaks in the 1960s. In the Soviet Union, no other American writers received similar honors. The fact that Soviet readers received a Russian version of Hemingway's art that matched the thinking of the Soviet "lost generation" of the 1960s and 1970s explains their strong interest in the American author.
The growth of the Uzbek school of translation has its own uniqueness and originality in its history. This peculiarity is characterized by (1) the wide development of translations from Eastern languages, primarily from Arabic, and the presence of bilingual dictionaries, (2) the direct translations from Western languages, which began in the second half of the nineteenth century, and (3) the wide development of artistic and scientific literature translations from the Russian language, including translations from other world literature languages, through the Russian language. The impact of these translations of Russian literature, or international literature through the Russian language, on the development of Uzbek culture in general, was enormous. The Russian language served as a bridge between the Uzbek reader and world culture and literature in this cultural-literary exchange and interpenetration. In its core composition and practice, the Uzbek school of translation from the previous century was founded on Russian translations. Translations from English, both mediated and direct, carried undertaken during the former Soviet regime. The most prominent works of English-language literature were translated between 1924 and 1991. The motivation for this activity is, first and foremost, to familiarize the reader with progressive literature. It was financially sponsored and encouraged. However, this movement did not emerge naturally; it was carried out in response to certain national policy objectives during the Soviet period of the country's development. This was a challenging time in a translation school's development. Along with the enormous number of translations, there were repressions against translators, including a lack of flexibility for translators in selecting literature for translation and making translations of works sanctioned "from above," by party organs. Properties were inherent to this period, such as censoring the original work, making essential adjustments to it, and, in some circumstances, distorting the original. In most situations, the Russian-language version was prepared first, followed by the Uzbek translation. As a result, direct translations from English are in the minority, and there is no school of translators capable of doing direct translations. The second part of the twentieth century was the most developed time for the Uzbek school of translation. The core concepts, methods, and key orientations of the Uzbek translation school, as well as Uzbek translation as a scientific field, were created during this time. A new generation of translators has emerged in the literary world. Many poets and writers also took part in translation projects. During this time, G.Salamov, S.Mamadzhanov, G.Hodjaev, N.Vladimirova, K.Juraev, N.Kamilov, S.Meliev, S.Azimov, Sh.Atabaev, S.Achilov, B.Ermatov, H.Ismailov, M. Bakaeva, N.Atajanov, and K.Musae. Hundreds of translations of world literary works were produced during this period by dozens of translators, writers, and poets, including Usman Nasyr, Sanjar Syddyk, Jumaniyaz Sharipov, Ninel Vladimirova, Mirzakalon Ismaili (more than 200 works of Russian and Western literature), Gulnara Gafurova, Askad Mukhtar, Gafur Ghulam. During this time, the works of English poets Robert Burns and Byron, Shakespeare's sonnets, and the works of Charles Dickens, Jonathan Swift, Theodore Dreiser, John Steinbeck, Ernest Hemingway, and other authors were translated into Uzbek. From 1991 till today, masterpieces of English literature have been translated in the years since independence. The rising social requirement for direct translations of works from the English language is a feature of this century. However, alterations were made in these translations in order to objectively preserve the core of the original work. At the same time, the topic of editing translations saturated with authoritarian ideology is at the heart of the matter, they must be devoid of censorship revisions and blatant textual interventions. The national translation school is gradually regaining strength.
There are some types of art that can be seen and understood. Painting, sculpture, singing, and other forms of expression However, verbal art - fiction - necessitates translation. Translators make an invaluable contribution to culture and make readers' work easier.
Ibrahim Gafurov explains how he came to the decision to translate this book: In the mid-1950s, a two-volume compilation of Hemingway's selected works was published in Moscow, with a stunning black cover. One of the first people to buy it was Erkin Vakhidov. After witnessing him grasping his armpits on the tram, I vowed myself that I would still find him. I was blown away by Hemingway's brilliant insights on Joyce in the amusing play Eternal Holiday, which I read in these two volumes. To be honest, Ernest Hemingway was the one who inspired me to pursue a career as a translator.
Ibrahim Gafurov was born in Tashkent, Uzbekistan, on December 27, 1937, into a family of artisans. From 1956 until 1961, he was a student at SAGU's Faculty of Philology (now the National University of Uzbekistan). He worked as a junior editor, chief editor, and deputy chief editor at the State Fiction Publishing House from 1961 until 1982. Ibrahim Gafurov is a candidate of philology (1973), a Laureate of the Uzbekistan Youth Prize (1989), and a Commander of the Order of Friendship (1995).
Ibrokhim Gafurov "Diamond Facets of Beauty" (1964) "Unforgettable Garden" (1965), "Charm" (1970), "Burning Word" (1973), "Green Tree" (1976), "Heart Flame" (1980). Author of such critical and artistic books as The Heart of Lyrics (1982), Poetry is Research (1984), Thirty Years of Self-Expression (1987), Freedom of Language (1998). He became famous for his books "Hayo - the Savior", "Mangu latofat" and a number of other poems and mansurs. He translated the works of leading figures of world literature into Uzbek: "Crime and Punishment", "The Idiot", "The Player" by Fyodor Dostoyevsky, "Dear" by Henri Rene Albert Guy de Maupassant, "Farewell to Arms", "The Old Man and the Sea" by Ernest Hemingway, "Judgment Day" "The White Cloud of Genghis Khan" by Chingiz Aitmatov and "Ulysses", by James Joyce.
"Farewell to Arms" was translated by Ibrahim Gafurov and published for the first time by "Young Guard" in 1986. It was republished several times by different publishers over the course of many years. However, Ergash Mamatqulov republished it in "New Edition" in 2019. He modified some notes and explanations based on modern Uzbek literal language rules in order to make it easier and more natural for the new generation of Uzbek readers.